Frankenstein The Movie Analysis

Mel Brook's film ,Young Frankenstein, is a comedic throwback and famous parody to Univeral's Frankenstein (1931), Bride of Frankenstein (1935), Son of Frankenstein (1939), and The Ghost of Frankenstein (1942). (quote from interview generally describing movie experience).

Quote: He stated “I was seized by remorse and the sense of guilt, which hurried me away to a hell of intense tortures such as no language can describe…..I shunned the face of man; all sound of joy or complacency was torture to me; solitude was my only consolation–deep, dark, deathlike solitude.”(Page 88).

says "he never gave me a name." This adds to the sympathy by making us

Every work is a product of its time. Indeed, we see that in Frankenstein, like in the world which produced its author, race, or the outward appearances on which that construct is based, determines much of the treatment received by those at all levels of its hierarchy. Within the work, Mary Shelley, its author, not only presents a racialized view of its characters, but further establishes and enforces the racial hierarchy present and known to her in her own world. For the few non-European characters, their appearance, and thus their standing in its related hierarchy, defines their entrances into the narrative. For the Creature, this occurs on the ices of the Artic, when, “atop a low carriage, fixed on a sledge and drawn by dogs, pass on towards the north, at the distance of half a mile;” Walton and his men perceived, “a being which had the shape of a man, but apparently of gigantic stature.” (Shelley 13) Shelley clarifies, even this early in her novel, the race of its principal Other as soon after the intrepid adventurers rescue its namesake, Victor Frankenstein, who, Shelley clarifies, “was not, as the other traveller seemed to be, a savage inhabitant of some undiscovered island, but an European.” (Shelley 14) Later, closer examination of the Creature reveals a visage and figure of near unimaginable disfigurement, with a “shrivelled complexion,” and yellow skin which “scarcely covered the work of muscles and arteries beneath.” (Shelley 35) This could be contrasted directly

Alienation is a product of society’s inherently discriminatory bias, catalyzed by our fear of the unknown in the realm of interpersonal conduct. Mary Shelley, in her novel, Frankenstein, dissects society’s unmerited demonization of individuals who defy—voluntarily or involuntarily—conventional norms. Furthermore, through her detailed parallel development of Frankenstein and his monster, Shelley personifies the tendency to alienate on the basis of physical deformity, thereby illustrating the role of the visual in the obfuscation of morality.

In Frankenstein, written by Mary Shelley, the creation, made from scraps of corpses, was built by Victor Frankenstein, a man fascinated and obsessed with the knowledge of life. Following the creation’s rouse, Victor immediately abandons him with no desire on keeping or teaching his new being. Because of his lack of nourishment and direction “growing up”, the creation goes through a process of self-deception. He endures a period of deceit by believing that he is a normal human being like everyone around him. But as time progresses, he learns to accept how he is alone in this world and disconnected with everyone. Because of the creation’s lack of guidance and isolation, he grows up feeling unwanted.

John Locke is one of the most influential Enlightenment thinkers and is famously known for asserting that all humans have natural rights. He also believed that humans are born with clean slates, and that the environment humans grow in, especially at a young age, has massive influences on aspects of their personalities, ideals, and motivations. Shelley was most definitely influenced by this claim when writing Frankenstein. As the reader, we can see the monster that Victor Frankenstein creates grow up alone, without guidance, and be formed by the experiences it is put through while trying to survive. Its emotions and beliefs throughout the book were merely a result of its experiences as it encounters the harsh reality of the world. Mary

1. Robert Walton is the captain of a ship on an expedition to the North Pole. He has been keeping in touch with his sister through letters. Not long after the start of his expedition his ship is caught in ice that has formed on the top of the ocean. It is here that he and his crew first meet Victor Frankenstein.

The topic I have chosen is whether or not a dead, decomposed body can be resuscitated or not long after death. The movie I am relating to is the original Frankenstein. In the movie, Dr. Frankenstein went to various graveyards and execution sites to recover the dead bodies and dissect them to create his “new life.” One scene in the movie showed Frankenstein’s assistant breaking into a medical school and stealing a brain that was sitting in a formaldehyde solution. That brain then went on to finish the “monster” that Dr. Frankenstein was creating. However, that brain had been sitting in that solution for a very long time; also being disconnected from any oxygen and blood flow. The brain, along with all of the other various body parts that Dr.

Fictionally, the greatest-written villains in history possess attributes that give them cause for their behavior, with the most universal and essential of these core traits being a deep, personal backstory behind their acts. For instance, in classic stories like Mary Shelley’s Frankenstein, the Monster presents thorough reason to its Creator in terms of why it has turned to wickedness. The Monster does not kill purely for the sake of being evil, its actions are resulted from its desire to be loved by man, yet failing at every attempt to achieve it. Motivation behind monstrous acts is necessary in works of fiction because non-fictionally, people labeled as monsters by society possesses motivation behind their actions as well, whether it be

For the better or for the worse, for the dull or for the sharp, there were moments in the Frankenstein book that were different from the events in the movie. There could many different explanations for this but the one that feels to be most prevalent is how the scene fits. Some scenes look better when seen with eyes then just reading and visa versa. There were little differences but in this I will be highlighting the more important differences in the story.

Inside Out and Frankenstein may have multiple similarities, but the fact that they are so different is unbelievable that they can be alike in so many ways. Inside out was published in 2010 is a dystopian work taking place in the future where Frankenstein was published in 1818 is a horror story taking place in the past. Inside out is about a girl named Trella who is un-happy with her way of life because she lives in an over populated metal box, and is told what to do every minute of the day by offices who can kill her at any moment. But this all changes when she undercovers a key to a way out. Trella starts a revolution between her people and the government by accident. The novel is also about the battle that is going on in herself. Frankenstein is about a scientist named Victor Frankenstein who creates a monster because he wanted to see if he can go against the laws of nature, but his experiment turns out as a complete disaster. Yes, both novels are classified under science fiction, but the plot, setting, time period, and major characters are all completely different. As shown both novels have no initial similarities, but by analyzing the work and digging deeper into the themes and the meaning behind the words of the text there are many similarities to be found. Such as the search for knowledge, the search for happiness, and determining right and wrong. Even though both novels are completely different as shown the theme that are shown in both novels are

Making a good movie is easy but making a great movie is hard. As I watched a short clip from the movie The Bride of Frankenstein I watched how the acting, plot, lighting, camera work, and script all made this film come to life. This movie was made in 1935 yet it is still so compelling to watch because it is successful with the important components of a movie.

After the realization that Victor is the one narrating, he begins with his happy early life in Geneva. Victor grows up closely with his adopted

Film adaptations generally differ from the novel on which they are based. Between Frankenstein, a novel by Mary Shelley, and the film adaptation by Kenneth Branagh, there are many differences in detail, however this was done to illuminate major themes of the novel, for example, the dangers of the constant pursuit of science and Victor Frankenstein’s relationships. Nonetheless, there are similarities in the undertone of both mediums that portray mutual morals. Reading the novel and watching the film adaption demonstrated that although there are several differences between the two, the